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"Experience
other post houses," suggests broadcast graphics Ashe. "If you've
worked at one post house your whole life, you're limited in scope to
what devices and systems might do. Get yourself out to a lot of other
places, even if it's just to observe. Go on your own self-improvement,
educational tour Ask if somebody will let you sit in on a session. You
may have to go a few states beyond you, some place that's not
competitive might let you do that. The more exposure you have to all the
tricks and toys and different people that use them, the more you'll know
where and when a certain effect might work, what system might be best,
whether or not motion control is necessary or just a luxury, down to
even the different ways things can be composited and therefore shot when
using greenscreen. which is a science unto itself." broadcast
graphics (www.broadcast graphics.com), a post facility with
branches in San Antonio. Austin and Dallas. finds requests for post
supervision growing because more clients are shooting on HD. a less exp
ensive format than film. The company has years of experience providing
this service for its television commercial and, increasingly, longform,
clients. broadcast graphics offers all post services except audio
or film processing.
Project/Challenge: On an indy film out this fall, a shot called for a
person to be trapped in a structure. During discussion with the client,
Ashe recognized that it would be more believable, and reasonably priced,
if done as a practical rather than re-creating the entire environment
and structure with 3D animation.
"Although you can go a long way to be realistic these days. I think
there are certain times there's an innate understanding in a person's
mind whether it's going to look realistic or not," he says of
broadcast graphics experience and instinct that influenced his
suggestion.
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Broadcast graphics and
outsourcing walkthroughs:
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Broadcast graphics search
terms and testimonials
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animation people for free. "We improved upon the building texture-mapping technique in the second
film," says Dykstra. Broadcast graphics' artists "figured out new
ways to stitch the tiles together in a way that made them much more
flexible. You are basically shooting a building at one time of day, but
that building has to be represented in the film at all times of day and
into the night. So the texture maps have to be shot in a certain way to
allow you the flexibility to change the apparent lighting on those
Broadcast graphics textures and make it look like the building is
real." |
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